MATTER OF TIME Project: Potential Future Pasts
‘Potential Future Pasts’ is an interactive performance-installation staged by Austin-based collective ARCOS Dance. A smartphone on a tripod captures a video projection of its own Facebook livestream, creating an audiovisual infinity loop mechanism that encourages playful investigation, experimentation, and self-reflection within the space. Exhibition visitors are invited to step into the piece and explore how their layered present, past, and future movements might interact between the physical and virtual dimensions.

Open workshops are part of the supporting recruitment, training, mediation, and interactive components of the artwork that offer people multiple ways to access, contribute to, and contextualize the exhibition.


ARCOS Dance, established in 2011 and now based in Austin, Texas, experiments rigorously to discover adventurous new forms of contemporary performance. ARCOS is co-directed by artists, educators, and performers Erica Gionfriddo (they/them) and Eliot Gray Fisher (he/him). For five years, ARCOS has continued investigating the influence of ever-evolving technologies on our cyborgian identities through the Ether Series, which has undergone twenty or more iterations of experimental transmedia performance.

An interest in the democratization of art in consideration of the local context is one of the primary factors leading ARCOS’ interest in continuing the Ether series in Tunis. Since November 2019, ARCOS has closely collaborated with the TASAWAR Collective to craft an iteration unique to MATTER OF TIME. Through Potential Future Pasts, the artist-curator team wishes to explore the possibilities when contemporary art is removed from its pedestal and brought to everyday citizens.

Interactive performance-installation; movement workshops

Video projection, Facebook Live video streaming, Music

“Both things are vibrant: regular people and contemporary art. Both of these things should go together.”
-Eliot Gray Fisher in interview conducted by Aisha Tida Abbassi, 13 August 2020

“We have shifted almost exclusively to using the word ‘dance artist.’ ‘Dancer’ is this kind of denigrated term, like an obedient person who’s going to enact the thing that the director or the choreographer defines, rather than having any agency themselves. So when you put ‘artist’ in there, it’s another really wonderful word that implies agency and that they are this fully-realized creative being.”
-Eliot Gray Fisher in interview conducted by Aisha Tida Abbassi, 13 August 2020

“…in the kind of work we represent, the kinds of things we support as a company, what we produce, everything surrounding us…We’re really focused on how every aspect of the company can be doing that work of disrupting the -isms and entrenched power.”
-Erica Gionfriddo in interview conducted by Aisha Tida Abbassi, 13 August 2020

2021 | Austin.tx.usa | University of Texas at Austin | In The Ether | Interactive performance and website
2019 | | Dance Zone | Ether Junk | Livestremed experimental dance performance
2018 | Albuquerque.nm.usa | SHIFT Dance Festival | In the Ether | livestreamed performance
2017 | Austin.tx.usa | Fusebox Festival – Spam’s the Internet | (twelve-twelve-thirty)
2016 | Belgrade.serbia | Museum of Human Achievement Online Performance Art Festival | d33p | dance performance
2015 |, CounterCurrent Festival
2014 | Edinburgh.sct | Edinburgh Fringe Festival | Presenting The Warriors: A Love Story
2013 | Santa Fe.nm.usa | Center for Contemporary Arts | The Warriors: A Love Story
2012 | Santa Fe.nm.usa | Moving People Dance Theater | To Have Everything

AWARDS Selection
2016 – 2019 |, Cultural Arts Division, Core Funding Grant
2014 – 2015, 2017 – 2019 |, Rea Charitable Trust | Grant
2018 | New, Foundation for Contemporary Arts, Grant
2018 | | Texas Commission on the Arts | Texas Touring Roster | Award
2015 | | Austin Critics Table | Award for Video Design
2014 | Edinburgh.sct | Mervyn Stutter’s Spirit of the Fringe Award | “The Warriors: A Love Story”

2019 | | Signal Culture |
2018 | | Art Institute of Chicago | Dept of Film, Video, New Media, Animation
2018 | Ann | University of Michigan | Department of Performing Arts Technology
2018 | | University of New Mexico | Department of Theatre and Dance | ARTS Lab

2017 | College | Texas A&M University | Department of Health and Kinesiology | Guest Artists Program
2015 + 2016 | Nebraska | Kimmel Harding Nelson Center for the Arts
2015 + 2016 | San | Texas State University | Departments of Theatre and Dance and Philosophy
2014 | | Ucross Foundation
2014 | | Playa Summerlake

FORMATION _ Erica Gionfriddo
2019 | | Hollins University, Artistic Fellowship and MFA Dance
2006 | | The Conservatory at Shenandoah University | BFA with Honors

FORMATION _ Eliot Gray Fisher
2015 | | Goddard College | MFA Interdisciplinary Arts
2007 | Santa | College of Santa Fe | BA Documentary Studies
2005 | | Wesleyan University | BA Film Studies (Leavell Memorial Prize)

BIO _ Erica Gionfriddo (they/them)
Since 2013 | Lives in
2011 | Santa | Co-established ARCOS Dance with Curtis Uhlemann
1984 | Born in

BIO _ Eliot Gray Fisher (he/him)
Since 2013 | Lives in
2011 | Santa | Joined ARCOS Dance
1983 | Born in

TEXTS Selection

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ARCOS Work Samples from ARCOS Dance on Vimeo.


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1aLejeune, Phillipe, translated by Katherin Durnin. “Autobiography and New Communication Tools.” in Identity Technologies: Constructing the Self Online, edited by Anna Poletti and Julie L. Rak, 247-258. Madison, WI: University of Wisconsin Press, 2014.

1bquote from Lejeune in the original French: “Nous perdons les attaches à long terme, l’enracinement dans le passé, la projection dans l’avenir, qui nous permettraient de nous construire une identité narrative.” Source: phie-et-les-nouveaux-outils-de-communication

2Nathan Jurgenson, “The Faux-Vintage Photo: Full Essay (Parts I, II and III). nd-iii/

Aisha Tida Abbassi